Hiving Mesh
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Hiving Mesh originates in the study of abscessed cones from a single conifer tree on the edge of the ocean where I live. My negotiation with this natural aberration in is to present a floating crystalline society of porcelain figures. The scaffolding system never permits contact among the individuals.

 

Three interconnected and suspended screens of hexagonal geometry hold the ceramic nodes in tension. The face of the ornament is like a cut...a hive sliced. The first of the three layers make reference to insect hives and colonies, and the only place of colour. The anterior layers are without colour and signify the misfiring of the reproduction zone.

 

The Mesh has no hierarchy and both figure and ground are interchangeable, a space where fixed positions are less viable than unstable ones.

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details of hexagonal shapes made by rigid stainless steel wires, which maintain regular distance between porcelain 'cones'.

End/termination of mesh, held in place by acrylic bars. Acrylic bars held in place by tensioned floor-to-ceiling wires.

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End/termination of mesh, held in place by acrylic tubing

Hiving Mesh

 

1999-02

6 m l. x 3 m h. x 90 cm d.

20' l. x 12' h. x 30" d.

press molded + slip cast porcelain,

Egyptian faience, mortar, custom formed stainless steel wire, lucite, cable, fittings.

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Drawings and geometry from the office of Philip Beesley, architect, Toronto

exhibited

 

2012     Bernardaud Foundation, Limoges, France

2002     Belger Art Center, Kansas City, Missouri

2000    Saint Mary's University Art Gallery, Halifax

Special thanks to Peter Eastwood, installation specialist

© 2001 by Neil Forrest

Photography by Steve Farmer, Neil Forrest